Overdrive
There's no hard line that separates overdrive from distortion from fuzz. They all kind of hang out in this nebulous world of spillover from a auditory standpoint. If looking at the manner in which the signal is manipulated to get the "clipped signal", it might be easier to arrive at a place where the distinction between the terms makes a difference.
Overdrive, as we understand the definition, is a clipped instrument signal, typically with only one half (the bottom half) of the waveform of the music signal being clipped. This results in only even-order harmonics being generated. Also characterized by a "soft" type of clipping applied to sine wave with the edges of the clipped signal being rounded as opposed to hard-angled (when viewed in an oscilloscope).
Contrast Guide
- Overdrive
- Minor waveform squaring-and-rounding from over-amplification, Effects usually only applied to one half of a sound's sine wave. Usually only through one or two gain stages.
- Distortion
- Major waveform squaring-and-rounding from over-amplification. Effects usually applied to both halves of a sound's sine wave. Usually cascaded through multiple gain stages.
- Fuzz
- Major waveform squaring without rounding due to diode clipping of waveform. Effect applied to both halves of a sound's sine wave. Usually only occurs through a single gain stage.
Overdrive Pedals
- Maxon OD-9
- Ibanez TS-9
- Boss BD-2 Blues Driver
- Boss SD-1 Super Overdrive
Amps known for Overdrive
- Fender 5E3 Tweed "Deluxe"
- Fender 5F1 Tweed "Champ"
- Fender 5F6A Tweed "Bassman"
- Marshall JTM-45
- Marshall JTM-45/100
